This article explores Ludwik Fleck’s concepts of collective thinking, style of thinking, esoteric and exoteric communication as precursors of the concepts of paradigm and incommensurability central in Thomas Kuhn’s thought.

Background: Patients at the end-of-life and their families experience a strong emotional impact. The wellbeing of the patient at the end-of-life and their family caregiver are related. Aim: to explore the elements related with the emotional wellbeing of patients with and without cognitive impairment at the end-of-life and that of their primary family caregivers. Design: Cross- sectional study. Participants: data was collected from 202 patients at the end of life with different diagnosis (COPD, cancer and frail elderly) as well as (...) from their respective 202 primary family caregivers. Results: Structural equation models indicated that the emotional state of the patients was best predicted by their functional independence and the burden of their family caregivers. At the same time, the emotional state of the primary family caregiver was predicted by their burden and not by the cognitive state or the functional independence of the patient. Nevertheless, the burden of the family caregiver, which is the only variable predicting both the emotional state of the patient and that of the caregiver, was directly related with the functional independence of the patient and indirectly with the patient’s cognitive state. Conclusions: The burden of the family caregiver stands out as a key factor in the reduction of the emotional distress of patients at the end-of-life –whether or not they present significant cognitive impairment- and that of their family caregivers. (shrink)

The current literature shows great interest in the issue of gender diversity on boards of directors. Some studies have hypothesized a direct relationship between diversity and the value of the firm, but not many examine the intermediate mechanisms that may exert an influence on such relationships. We employ two stages of GMM estimation methodology to exhibit evidences of the relationship between gender diversity and compensation of top managers in the Spanish context. Results show that gender diversity positively affects the effectiveness (...) of boards—in terms of composition, structure, size and functioning—influencing a proper design of top managers compensation linked to company performance. Evidences suggest that legislative actions aimed at increasing the presence of women on boards of directors are justified not only for ethical reasons, but also for reasons of economic efficiency. (shrink)

A partir del trabajo colaborativo que emprendimos en ocasión de realizar el seminario “Trabajadores, industrialización y movilidades en Patagonia: una sociedad vigilada. Análisis local, en clave comparada”, entablamos un diálogo que nos permitió inscribir y pensar con clave continente rasgos asociados al devenir de la clase obrera y otros grupos subalternos en la Patagonia (a ambos lados de la delimitación formal de límites entre Chile y Argentina) y otras sociedades de frontera, como la región de Cuyo.

El objetivo de este artículo es describir la percepción de riesgo y los factores de protección y de riesgo frente al consumo de sustancias psicoactivas legales e ilegales en estudiantes de la Universidad de Boyacá. Es un estudio cuantitativo y descriptivo de corte transversal, para el cual se tomó una muestra de 573 estudiantes que fueron seleccionados mediante muestreo estratificado probabilístico. El instrumento utilizado fue la encuesta sobre consumo de drogas, factores y percepción de riesgo en estudiantes universitarios (CODEU) diseñado (...) por Beverido, Salas, De San Jorge, Pavón, Blázquez, Gogeascoechea y Cruz (2012), que consta de 73 preguntas. Este instrumento fue validado y obtuvo un alpha de Cronbach de 0.787. Los hallazgos muestran que entre los factores protectores se encuentran: adecuadas relaciones familiares y practicar un deporte, como factores de riesgo se identifican principalmente: la permisividad social y las construcciones de reconocimiento social presentes ante el consumo de sustancias legales. De las sustancias ilegales, la marihuana es la que se percibe como de menor riesgo frente a la cocaína, el bazuco, los inhalantes y la heroína. (shrink)

Los niños con trastorno por déficit de atención con hiperactividad presentan alteraciones en el desarrollo de la función ejecutiva que se traducen en dificultades del control atencional y de la flexibilidad cognitiva. Considerando la complejidad de los procesos involucrados en la comprensión de lectura y el papel fundamental que en ellos cumple la función ejecutiva, puede esperarse que los niños con TDAH presenten diferencias en su desempeño lector en comparación con sus pares sin TDAH. El presente estudio, de carácter correlacional-predictivo, (...) tiene como propósito determinar si tales diferencias de comprensión lectora existen realmente y si es posible predecirlas a partir de la función ejecutiva. Para ello se seleccionaron 71 escolares de tercer y cuarto año de enseñanza básica y se les evaluó la habilidad de comprensión de lectura, el reconocimiento de palabras, la amplitud de la memoria de trabajo verbal, el control atencional y la velocidad de procesamiento. Con el fin de determinar qué variables tenían capacidad para predecir el nivel de comprensión de los escolares se aplicó un análisis de regresión logística binaria. Los resultados ponen en evidencia que el TDAH afecta significativamente el desempeño lector de los escolares y que las variables vinculadas a la función ejecutiva, especialmente la memoria de trabajo, son buenos predictores del rendimiento en comprensión de lectura. (shrink)

En este trabajo se define formamente el concepto de representacion en química utilizando homomorfismos desde estructuras algebraicas, que llamamos sistemas de tipo C, en otras estructuras especiales de símbolos muy relacionados con los que son habituales en la qímica experimental. Para la definicion de los sistemas de tipo C se ha seleccionado un conjunto minimo de relaciones y funciones, que son necesarias para expresar proposiciones significativas en química. Tambien se define un lenguaje formal de primer orden adecuado a los sistemas (...) de tipo C, que llamamos L. EI resultado principal que se demuestra es que toda representación que verifica las mismas sentencias de L que un sistema de tipo C, es necesariamente isomorfo a él. Se concluye por lo tanto que puede existir un problema linguístico subyacente en la aplicacion que de la mecaníca cuántica se hace en la química teórica.The concept of representation in chemistry bas been formallv defined by means of homomorphisms from algebraical structures, which we call type-C systems, to some special sets of symbols which can be related to the symbols ordinarily used in experimental chemistry. A minimum number of relations and functions, which would suffice to express significant propositions in chemistry, have been chosen to define type-C systems. A first order formal language L adequate to type-C systems has been defined. It has been shown that each representation that verifies the same sentences of L as a type-C system is necessarily isomorphic to it. It is concluded that a systematic study of the representation problem in chemistry is in order because a deep language problem underlies the application of quantum mechanies to chemical problems. (shrink)

En el proceso de conformación de la clase obrera en la Patagonia argentina se destaca la fundamental presencia de los trabajadores de origen chileno en general, y de quienes eran oriundos de Chiloé en particular. Estos obreros eran necesarios para una región que sufría la escasez de fuerza de trabajo, pero a la vez estaban siempre sindicados como una latente amenaza, ya sea por su nacionalidad, su ideología o sus prácticas sociales. Los trabajadores chilenos sufrieron un permanente control que en (...) muchos casos desembocó en represión abierta, siendo los “chilotes” blanco de una especial discriminación. Trabajamos con un prontuario policial específico del Territorio Nacional del Chubut, realizado a José Modesto Barrientos, obrero petrolero de Yacimientos Petrolíferos Fiscales, detenido en varias ocasiones por situaciones de desorden público, ebriedad y, especialmente, por sospechas de actividades comunistas. Investigamos algunos rasgos de las prácticas obreras, las formas de resistencia y los ejes de la persecución política y social que desarrollaba la policía del territorio. Observaremos, además, ciertas características sobre la riesgosa labor que estos trabajadores desarrollaban. (shrink)

Job burnout, organizational commitment, and work environment continue to be important areas of research to be studied in the realm of company employment and employee retention. Job burnout is the state of physical and emotional exhaustion and perceiving one’s profession as dull or overwhelming. Meanwhile, organizational commitment refers to the company’s attitude towards the organization and their employees, encompassing loyalty, moral responsibility, and their willingness to work. And lastly, work environment provides opportunities for employees to establish connections, develop skills, and (...) maximize their full potential in performing tasks. For the current study, researchers utilized descriptive-correlational research design to investigate the influence of Work Environment towards the job burnout and organizational commitment of BPO agents in selected companies in Bulacan, Philippines. Hence, Danish Psychosocial Work Environment Questionnaire (DPQ), Maslach Burnout Inventory - General Survey (MBI-GS), and the Three-Dimensional Model of Organizational Commitment Scale (ACS, NCS, CCS) were employed to properly assess the study's objectives. Multiple Linear Regression Analysis was performed to analyze the collected data. Based on the analysis, findings show that work environment has no significant influence on the job burnout and organizational commitment of BPO Agents. Furthermore, the results of this study were thoroughly evaluated, leading to an in-depth discussion. Based on the findings, recommendations were made to benefit the stakeholders of the study and contributeto the existing body of knowledge. (shrink)

Reseña de Portelli, Alessandro. (2020). Lluvia y veneno. Bob Dylan y una balada entre la tradición y la modernidad. Buenos Aires: Prometeo y FaHCE. 180 pp.

The compact and, with \ M\, very massive object located at the center of the Milky Way is currently the very best candidate for a supermassive black hole in our immediate vicinity. The strongest evidence for this is provided by measurements of stellar orbits, variable X-ray emission, and strongly variable polarized near-infrared emission from the location of the radio source Sagittarius A* in the middle of the central stellar cluster. Simultaneous near-infrared and X-ray observations of SgrA* have revealed insights into (...) the emission mechanisms responsible for the powerful near-infrared and X-ray flares from within a few tens to one hundred Schwarzschild radii of such a putative SMBH. If SgrA* is indeed a SMBH it will, in projection onto the sky, have the largest event horizon and will certainly be the first and most important target for very long baseline interferometry observations currently being prepared by the event horizon telescope. These observations in combination with the infrared interferometry experiment GRAVITY at the very large telescope interferometer and other experiments across the electromagnetic spectrum might yield proof for the presence of a black hole at the center of the Milky Way. The large body of evidence continues to discriminate the identification of SgrA* as a SMBH from alternative possibilities. It is, however, unclear when the ever mounting evidence for SgrA* being associated with a SMBH will suffice as a convincing proof. Additional compelling evidence may come from future gravitational wave observatories. This manuscript reviews the observational facts, theoretical grounds and conceptual aspects for the case of SgrA* being a black hole. We treat theory and observations in the framework of the philosophical discussions about “realism and underdetermination”, as this line of arguments allows us to describe the situation in observational astrophysics with respect to supermassive black holes. Questions concerning the existence of supermassive black holes and in particular SgrA* are discussed using causation as an indispensable element. We show that the results of our investigation are convincingly mapped out by this combination of concepts. (shrink)

ABSTRACT The objective of this study was to determine the accuracy of a brief informed consent quiz to detect consent comprehension in individuals with cognitive impairment and to explore the degree to which cognitive domains and recent substance use, independently, predict comprehension. We performed a secondary analysis of two cross-sectional studies in individuals with substance use disorders. The ICQ total score was used as the index test and the Montreal Cognitive Assessment as reference standard in receiver operating characteristic curves. Two (...) independent multiple binary logistic regression models were performed using cognitive domains and days of recent substance use as predictors of ICQ outcome. We analyzed data from 215 and 251 participants, respectively. The ICQ showed moderate accuracy for major cognitive impairment and lower accuracy for mild impairment. Optimal cutoff score was set at 10 points or less for detecting comprehension difficulty. Lower scores in Short-Term Memory, Attention, Language, and Orientation increased the probability of failing the ICQ. A procedure including both the ICQ and cognitive screening measure could improve the accuracy of consent comprehension assessments. (shrink)

The voices of children and young people have been largely neglected in discussions of the extent to which the internet takes into account their needs and concerns. This paper aims to highlight young people’s lived experiences of being online.

Parental burnout is a unique and context-specific syndrome resulting from a chronic imbalance of risks over resources in the parenting domain. The current research aims to evaluate the psychometric properties of the Spanish version of the Parental Burnout Assessment across Spanish-speaking countries with two consecutive studies. In Study 1, we analyzed the data through a bifactor model within an Exploratory Structural Equation Modeling on the pooled sample of participants obtaining good fit indices. We then attained measurement invariance across both gender (...) and countries in a set of nested models with gradually increasing parameter constraints. Latent means comparisons across countries showed that among the participants’ countries, Chile had the highest parental burnout score, likewise, comparisons across gender evidenced that mothers displayed higher scores than fathers, as shown in previous studies. Reliability coefficients were high. In Study 2, we tested the relations between parental burnout and three specific consequences, i.e., escape and suicidal ideations, parental neglect, and parental violence toward one’s children. The medium to large associations found provided support for the PBA’s predictive validity. Overall, we concluded that the Spanish version of the PBA has good psychometric properties. The results support its relevance for the assessment of parental burnout among Spanish-speaking parents, offering new opportunities for cross-cultural research in the parenting domain. (shrink)

Unfounded—conspiracy and health—beliefs about COVID-19 have accompanied the pandemic worldwide. Here, we examined cross-nationally the structure and correlates of these beliefs with an 8-item scale, using a multigroup confirmatory factor analysis. We obtained a two-factor model of unfounded (conspiracy and health) beliefs with good internal structure (average CFI = 0.98, RMSEA = 0.05, SRMR = 0.04), but a high correlation between the two factors (average latent factor correlation = 0.57). This model was replicable across 50 countries (total N = 13,579), (...) as evidenced by metric invariance between countries (CFI = 0.96, RMSEA = 0.06, SRMS = 0.07) as well as scalar invariance across genders (CFI = 0.98, RMSEA = 0.04, SRMS = 0.03) and educational levels (CFI = 0.98, RMSEA = 0.04, SRMS = 0.03). Also, lower levels of education, more fear of COVID-19, and more cynicism were weakly associated with stronger conspiracy and health beliefs. The study contributes to knowledge about the structure of unfounded beliefs, and reveals the potential relevance of affective (i.e., fear of COVID-19) and cognitive (i.e., cynicism) factors along with demographics, in endorsing such beliefs. In summary, we obtained cross-cultural evidence for the distinctiveness of unfounded conspiracy and health beliefs about COVID-19 in terms of their structure and correlates. (shrink)

IntroductionRheumatologists are the primary healthcare professionals responsible for patients with rheumatic diseases and should acquire medical ethical competencies, such as the informed consent process (ICP). The objective clinical structured examination is a valuable tool for assessing clinical competencies. We report the performance of 90 rheumatologist trainees participating in a station designed to evaluate the ICP during the 2018 and 2019 national accreditations.MethodsThe station was validated and represented a medical encounter in which the rheumatologist informed a patient with systemic lupus erythematosus (...) with clinically active nephritis about renal biopsy. A trained patient–actor and an evaluator were instructed to assess ICP skills (with a focus on kidney biopsy benefits, how the biopsy is done and potential complications) in obtaining formal informed consent, delivering bad news and overall communication with patients. The evaluator used a tailored checklist and form.ResultsCandidate performance varied with ICP content and was superior for potential benefit information (achieved by 98.9% of the candidates) but significantly reduced for potential complications (37.8%) and biopsy description (42.2%). Only 17.8% of the candidates mentioned the legal perspective of ICP. Death (as a potential complication) was omitted by the majority of the candidates (93.3%); after the patient–actor challenged candidates, only 57.1% of them gave a clear and positive answer. Evaluators frequently rated candidate communications skills as superior (≥80%), but ≥1 negative aspect was identified in 69% of the candidates.ConclusionsEthical competencies are mandatory for professional rheumatologists. It seems necessary to include an ethics competency framework in the curriculum throughout the rheumatology residency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Books on Thomas HobbesPerez ZagorinQuentin Skinner, Reason and Rhetoric in the Philosophy of Hobbes (Cambridge: Cambridge University Press, 1996), xvi, 477p.The Correspondence of Thomas Hobbes, ed. Noel Malcolm, 2 vols. (Oxford: Clarendon Press, 1994), lxxxv, 1008p.The literature on Hobbes in English and other European languages has grown so large in the past two decades that it has become almost unmanageable by students of the philosopher. No one who (...) is interested in Hobbes, however, can afford to overlook the two books that are reviewed here, the first, Quentin Skinner’s study of the relationship of Hobbes to rhetoric, and the second, Noel Malcolm’s edition of Hobbes’s correspondence.Skinner is well known not only as a leading British Hobbes scholar and historian of early modern political thought but likewise for his ideas concerning the correct method of studying the history of political philosophy. In a view akin to R. G. Collingwood’s he maintains that there are no permanent or perennial questions in political philosophy and that a historical approach based on a thorough comprehension of context is the only way to grasp what political philosophers are doing and saying when they write their texts. In implementing this prescription, he argues that to understand a historical text it is necessary to reconstruct its author’s intentions and the meaning of his ideas by ascertaining the linguistic conventions and usages and the intellectual currents and back-ground that form its context. He offers the present study both as an exem-plification of this method and as a new interpretation of the principles of Hobbes’s political philosophy which takes rhetoric as its focal theme. His aim, he tells us, is to situate Hobbes’s theory and practice of civil science within its intellectual context and to depict the philosopher less as the author of a philosophical system than as a contributor to a series of debates about the moral sciences within Renaissance culture. Our judgment of the success of his work will accordingly depend on whether or not we are satisfied that rhetoric possessed for Hobbes and his philosophy the crucial significance that Skinner claims for it [End Page 361].In recent years a number of scholars have discussed Hobbes’s attitude to rhetoric, and there have been at least two books on the subject. 1 Commensurate, however, with its ambitious goal of proffering a new interpretation of Hobbes’s work on politics, Skinner’s treatment of his involvement with rhetoric is much richer and far more learned than preceding studies. By rhetoric most people nowadays mean no more than a writer’s literary strategy, but this is not what Skinner intends by the term. He deals with rhetoric precisely as Hobbes would have understood it and in the sense it bore in the ancient world and the Renaissance, when it signified a major discipline of knowledge concerned with the various figures of speech and devices of language that constituted an art of persuasion and eloquence indispensable in the education of the orator, the statesman, the writer, and the gentleman.Skinner perceives Hobbes’s mind as formed in the early years of his career by his classical education and immersion in the literary-rhetorical culture of English Renaissance humanism derived from Greco-Roman antiquity and ancient authors on rhetoric like Aristotle, Cicero, and Quintilian. Starting from this point, he pictures Hobbes’s intellectual evolution as consisting of three successive stages: a humanist, a scientific, and a scientific-humanist. In the first, as a late Renaissance intellectual, Hobbes’s initial interest in politics as a civil science was shaped by his involvement in the humanistic disciplines of rhetoric, history, poetry, and moral and political philosophy. The result was the publication in 1629 of his English translation of Thucydides’ History, with the observations contained in his introduction. In the second stage he turned against the literary-rhetorical character of Renaissance culture and its approach to politics. This shift, which occurred in the 1630s, was caused by his discovery of the geometrical method, his pursuit of his scientific interests through his association with Sir Charles Cavendish and his friends, and his introduction to the Parisian scientific circle of Marin... (shrink)

This commentary is a critical appraisal of Gil-Pérez et al.'s (2002) conceptualization of constructivism. It is argued that the following aspects of their presentation are problematic: (a) Although the role of controversy is recognized, the authors implicitly subscribe to a Kuhnian perspective of `normal' science; (b) Authors fail to recognize the importance of von Glasersfeld's contribution to the understanding of constructivism in science education; (c) The fact that it is not possible to implement a constructivist pedagogy without a constructivist (...) epistemology has been ignored; and (d) Failure to recognize that the metaphor of the `student as a developing scientist' facilitates teaching strategies as students are confronted with alternative/rival/conflicting ideas. Finally, we have shown that constructivism in science education is going through a process of continual critical appraisals. (shrink)

Based on the assumption that consumers will reward firms for their support of social programs, many organizations have adopted corporate social responsibility (CSR) practices. Drawing on social identity theory, a model of influence of CSR on loyalty is developed and tested using a sample of real consumers. Results demonstrate that CSR initiatives are linked to stronger loyalty both because the consumer develops a more positive company evaluation, and because one identifies more strongly with the company. Moreover, identity salience is shown (...) to play a crucial role in the influence of CSR initiatives on consumer loyalty when this influence occurs through consumer-company identification. A strong identifier is not necessarily in a constant state of salience, but activating identity salience of a particular consumer social identity (a company) will affect consumer reactions to product stimuli, increasing consumer loyalty. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Wil Waluchow’s notion of Community’s Constitutional Morality (CCM) was developed as a tool for the identification of moral norms and considered judgments that are in some way tied to a community’s constitutional law and practices. In this paper I first argue that even though the tool was conceived under a state-based paradigm, it also works on a global scale. Then, I show how by relying on this tool we can achieve two important and clearly differentiable goals. The first goal relates (...) to efforts regarding the construction of global theories of justice. By using Waluchow’s CCM we can overcome what I call the problem of adjudication among differentexisting moral intuitions. That is, the need to choose between different and competing fundamental moral commitments that ought to guide our moral deliberations. Instead, by using CCM, we can identify Embodied Moral Intuitions that hold an epistemic advantage over Personal Moral Intuitions, which are commonly used to ground normative projects. The second goal relates to contemporary efforts to decolonize our perspectives about justice, domestic and global. By relying on Waluchow’s notion of CCM, the reality that Indigenous knowledge, despite it not having been properly acknowledged in most philosophical academic debates, is already a part of our debates about global justice becomes undeniable and a call for action to further expand our understanding of global political morality. (shrink)

Resumen: En este artículo sostengo que los planteamientos de Jakob von Uexküll constituyen un apoyo científico decisivo para las reflexiones metafísicas de Martin Heidegger sobre el mundo, más allá de lo que el mismo Heidegger reconoce explícitamente. En particular, los estudios de Jakob von Uexküll enfatizan, de mejor manera que el mecanicismo y el vitalismo, la relación que existe entre el medio ambiente y el mundo interior del animal, lo que es fundamental para que Heidegger sostenga en su lección de (...) invierno de 1929 y 1930 que la esencia del animal es el "perturbamiento".: In this paper I argue that the scientific approaches of Jakob von Uexküll crucially support Martin Heidegger's metaphysical reflections about the world, beyond what Heidegger himself explicitly recognized. In particular, Jakob von Uexküll's studies emphasized, better than mechanicism and vitalism, the relationship between the environment and the inner world of the animal, which is crucial for Heidegger to claim in his winter 1929-1930 lessons that the essence of the animal is "disturbance". (shrink)

Creation mustn't be considerated as a production whose term is creature. Creature as such isn't a term but a beginning. Abandonment of mental limit is a necessary method to reach such a knowledge of creature.

Judith Butler draws on Emmanuel Levinas’ ethics in order to question processes of humanization and dehumanization taking place through various practices of representation of the face of the other. This is a singular reading leading Levinas’ work to the field of media representations conceived as an agonistic social landscape where the demand of the face is offered or, on the contrary, hidden from us. In that sense, Butler’s cultural transposition of Levinasian ethics entails a politicization of ethics which is indistinguishable, (...) at the end, from an ethic assault to the politics of representation. In this cultural bond among ethics and politics arise fundamental questions on responsibility linking it to the practice of cultural translation while offering alternatives to some common universalist shortcuts of contemporary ethical reflection.Keywords: Cultural translation, ethical responsibility, ethics of alterity. (shrink)